artly cited above, beginning:
"There are seven notes in the scale, make them fourteen; yet what a
slender outfit for so vast an enterprise! What science brings so much
out of so little! Out of what poor element does some great master in
it create his new world!" Mrs. J. Mozley says, "We are pleased at your
tribute to music, but what do you mean by fourteen notes? Do you mean
the twelve semitones, as some suggest? I am indignant at the idea. I
think you knew what you were saying. Please tell me when you write."
(Mozley, _Corr._ ii. p. 411.) He replies: "I had already been both
amused and provoked to find my gross blunder about the 'fourteen.' But
do not, pray, suppose I _doubled_ the notes for semitones, though it
looks very like it. The truth is, I had a most stupid idea in my head
there were fifteen semi tones, and I took off one for the octave. On
reading it over when published, I saw the absurdity. I have a great
dislike to publishing hot bread, and this is one proof of the
inconvenience." (_Ibid._) The Second Edition has "thirteen notes,"
which is correct, if the octave be included, but later editions go
back to "fourteen."]

[Footnote 7: Pope, _Capecelatro_, ii. 82.]

[Footnote 8: _Idea_, dis. vi. p. 144.]

[Footnote 9: _Ibid._]

Thus, of a pupil's violin playing, September, 1865: "There are more
important things, and I had some fear that he might be neglecting his
proper studies. Now since he has not been, his music is all gain....
To my mind music is an important part of education, where boys have a
turn for it. It is a great resource when they are thrown on the world,
it is a social amusement perfectly innocent, and, what is so great a
point, employs their thoughts. Drawing does not do this. It is often a
great point for a boy to escape from himself, and music enables him.
He cannot be playing difficult passages on the violin, and thinking of
anything else." Perhaps he was speaking from experience, for he told
us in September, 1875: "I began the violin when I was ten years old,"
and his two brothers used to accompany him in trios, Frank playing
"the bass." On going to Oxford he kept up his music. Thus in February,
1820: "Our music club at St. John's has been offered, and has
accepted, the music-room, for our weekly private concerts;" and later:
"I went to the R's to play the difficult first violin to Haydn,
Mozart, &c.;"[10] and in June, 1820: "I was asked by a man yesterday
to go to his rooms for a _little